potentialities until the next man walks into the space, absorbs the shadows into himself, creating her, allowing her to be her ‘self’ – but a new self, since it is his conception which forms her. Such a woman is recognizable often enough not by her solitude but the variety and number of her acquaintances and friends with whom she may be intimate but who, as far as she is concerned, do not ‘really’ know her.
Martha knew, with William gone, she was not so much lonely as self-divided. Her loneliness, the moments when she said to herself, ‘I am lonely,’ had a pleasurable pain; her old enemy, the dishonesty of nostalgia, was very close, and the ease with which she succumbed to it made her irritated with herself. For she was being nostalgic for something she had already outgrown. Her ‘self’ with William was something she had never been before, it was true: they had been like two children, playing inside the shelter of the group, they had been almost brother and sister. They had spoken of meeting after the war, but that was in their roles of being in love, being lovers, and it was not the truth. Already Martha was impatient to be rid of that image of herself, so much less than she was capable of being. But who, next, would walk into the empty space? She knew of no one; not one of the men about her now fed her imagination, or at least, not more than for a few moments of fantasy.
Meanwhile, she told herself, she must become a good communist. And she must recognize that while she had certain capacities as a communist others would always be beyond her. For instance, she could never ‘work’ on people. She would find Anton at some suitable moment and ask if a real communist, a good comrade, could simply admit to herself that she had limitations.
The thought of this interview with Anton gave her sensuous pleasure. The individual members of the group had all exchanged personal confessions, in a compulsive desire to share everything of themselves. Anton did not. One could not imagine him doing so. At the end of a meeting, or during an interval between meetings, when the others sat around in couples, talking of their pasts in a way which made them offerings to the future, he would dryly excuse himself and go off back to the hotel room where he lived.
But they all knew that in the same hotel stayed the Austrian woman Toni Mandel; and while his private life was certainly his own affair (even though they all insisted their private lives must be subordinated to the group) they could not help feeling she was not worthy of them. At meetings she would clutch his arm with both hands, looking up into his face with a great deal of arch vivacity. Walking along the pavements towards or away from meetings she tripped beside Anton, letting out small cries of laughter. She was an elderly girl, rather lean and dry, wearing strict broad-shouldered suits in the style of Marlene Dietrich; her fair frizzy hair bounced and swung below her collarbones on either side of a long face irregularly patched with colour, which peered and poked and bridled and coquetted with life from behind stray locks of hair. It appeared that never for a moment did she feel free from the necessity of being gay. But once or twice, at meetings, when conversation and intimate whispers really were not possible, Martha had observed that this woman tended to stare in front of her, her mouth fallen open a little, her eyes fixed. As for Anton, he would regard the Austrian with a small smile which was tender, indulgent, fatherly; but Martha felt that this protective smile was for the arch little girl, and not for the haunted woman who was a refugee from Europe like himself. It was precisely this intuition that enabled her to think of discussing her deficiencies with him.
They had arranged to meet at six before the decisive meeting. On that afternoon Martha was busy delivering bundles of The Watchdog, the communist paper from down South, to various cafés and restaurants
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